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Bread and Roses Educates and Informs with Well-Cast, Music-Filled “Brick and a Bible”

Posted in St Louis Theatre, Uncategorized, tagged , , , , , , , , on March 5, 2026| Leave a Comment »

A Brick and a Bible
by Kathryn Bentley & Colin McLaughlin
Original Music by Alicia Revé Like and Anita Jackson
Directed by Rayme Cornell
Bread and Roses Missouri
February 28, 2026

Cast of A Brick and a Bible
Photo by Studio Kay
Bread and Roses Missouri

Bread and Roses Missouri is presenting a fascinating production in various venues around St. Louis, having started at the Missouri History Museum, which is fitting since it centers around an important but not necessarily well-known moment in the life of our city. A Brick and a Bible focuses on a Depression-era workers’ strike that called attention to class struggles, racial divides, and institutionalized racism and sexism. This production sets the tone in a very historically “St. Louis” way, with Jazz and Blues music to underscore the movement led by a group of determined Black women. It’s not a long play, but it’s educational, informative, and strikes me especially as a show than can be toured.

Set in 1932 in the midst of the Great Depression, the story focuses on a group of workers at a nut factory, fighting for better working conditions and equal pay for Black women workers. The Funsten Nut Strike was eventually joined by more workers–including white women–and supported by Black churches as well as the Communist party, who historically supported various workers’ strikes and causes. The leaders, though, were a group of Black working-class women who were determined to make life better for their fellow workers. The central character is Elizabeth (Christina Yancy), a scholarly, church-going young woman who has taken a job at the factory to help support her family. She is contrasted with Delores (Thomasina Clarke), Elizabeth’s co-worker who helps bring the local Communist party into the cause, and who is good friends with Elizabeth despite their differences in faith and philosophy. As the initially reluctant Elizabeth is brought into the workers’ rights movement, she also struggles with the expectations of her academic mentor, Ms. Leonard (Alexandra Jay), who encourages Elizabeth to “find her voice” but also isn’t sure about how the young women chooses to be involved.

The rest of the characters are other leaders and participants in the strike, including Carrie Smith (LaWanda Jackson), Cora Lewis (also Jay), and Communist party representative Bill Setner (Ryan Lawson-Maeske). There’s also a “chorus” of singers (Adrienne Spann, Hassie Davis, Joshua Mayfield) who narrate and comment on the action, as well as playing other characters in the story as needed. The music, by Alicia Revé Like with additions by music director Anita Jackson, is rooted in the jazz and blues styles of 1930s St. Louis, as well as some Gospel influences, reflective of the deep faith and church involvement of many of the characters. The overall atmosphere and setting are well-realized by means of an excellent set by Laura Skroska that features a backdrop of news headlines of the day, along with striking lighting by Theresa Comstock and excellent sound design by Ahsa-Ti Nu. The costumes by Shevaré Perry also add an authentic air to the story, and the music is also memorable, played with skill and emotion by musicians Gregg Haynes and Willem Von Hombracht. 

The players are impressive all around, led by the charismatic and relatable Yancy as Elizabeth, Clarke as the sharp-witted and determined Delores, and Jay as the inspiring and occasionally bewildered Ms. Lewis. The rest of the cast is also excellent, with strong voices from the chorus and the rest of the players occasionally joining in the singing. This isn’t a musical, exactly, but more a play that uses music as something of a backdrop and commentary on the action.

Another striking aspect of this production is its portability. Though it opened at the Missouri History Museum, it played its second weekend at the Metro Theatre Company space in Midtown, which is where I saw it. It will be playing one more weekend at St. Stephen’s & The Vine Episcopal Church in Ferguson. This strikes me as the type of show that could fairly easily be toured to various venues, although I recommend checking it out while you can. A Brick and a Bible is a show that highlights an aspect of St. Louis History that many might not know. It’s a well-paced, intriguing and riveting tale. 

Bread and Roses Missouri will be presenting A Brick and a Bible at St. Stephen’s & The Vine Episcopal Church on March 7-8, 2026

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Cherokee Street Theater’s “Hughes” is a Wild Nostalgic Ride

Posted in Uncategorized, tagged , , , , , , , , , , , on December 13, 2025| Leave a Comment »

John Hughes Your Own Adventure
Written by Joseph Garner, Chris “Mr.” Jones, Rob McLemore, Suki Peters, and Ben Ritchie
Directed by Suki Peters
Cherokee Street Theater Company
December 11, 2025

Cast of John Hughes Your Own Adventure
Photo by Robert Crowe
Cherokee Street Theatre Company

In the program for their rerun of Cherokee Street Theater Company’s STL Fringe Summer hit show, John Hughes Your Own Adventure, they refer to this as their “love letter to Gen X”. It’s confession time for me, then–I must not be a “typical” Gen Xer, because of all the films listed in the program as the basis for this parody, I’ve seen a grand total of two: The Breakfast Club and  (I think)  16 Candles. I guess I’m not the prime target for this nostalgia-fest, although I do have great nostalgia for the Choose Your Own Adventure books, especially The Cave of Time.  Still, even though I may not have seen all of these films, pop culture osmosis is real, and I’ve absorbed a lot of the references from my generation. My thought is that, if I think this show is a laugh riot (and I do), bigger fans of the films referenced are going to absolutely love it!  

It’s certainly a cleverly constructed show, hosted by John Hughes himself, played with a bit of self-important glibness by Joseph Garner, and the mash-up of his films with the classic “pick your path” format of the book series is remarkably clever. Mr. Hughes sets out the rules, and the story plays out–starting in detention with the five kids from The Breakfast Club–Chris “Mr.” Jones as John Bender, Patience Davis as Allison, Ryan Lawson-Maeske as Andrew, Payton Gillam as Molly Ringwald, and Ted Drury as Anthony Michael Hall. The story starts out as in that situation, but there will be points in which music starts playing and the voice of Stan Davis on the “god mic” presents choices to the audience, who decide their preference through applause. Soon, what starts out as a Breakfast Club parody morphs into a conglomeration of many of John Hughes’s greatest hits, including Ferris Bueller’s Day Off, Weird Science, Home Alone, Uncle Buck, and more. It’s a frantic, fun-filled laugh-fest with clever staging, some fun sight gags (including a character being played by a cardboard cutout), and lots of quick changes.

The staging is crisp and fast-paced, although the look and feel is a little unpolished, which adds to the humor, and the cast is excellent, with great turns from all the players, with standouts including Garner as Hughes, Lawson-Maeske as Andrew and Ferris Bueller, Nicole Angeli as a variety of characters including Edie McClurg, Annie Potts, and Catherine O’Hara, Ben Ritchie as Vernon and others, Brennan Eller as Duckie and Joe Pesci, Rob McLemore as John Candy, and Soupy Allen David as Kevin McCallister. Everyone seems to be having a great time, and the pop culture references, including music from the times, and mentions of other films, are flying fast and furious. It’s a great ensemble all around, and the audience was having a great time when I saw it.

The costumes by Kayla Lindsey are a lot of fun, as well, with great work on sound by Jeffrey Roberts and sound by Bradley Rohlf, as well. The props are also a delight–with kudos to properties mistress Payton Gillam and properties team Stan Davis, Patience Davis, Soupy Allen David, and Abby Lampe. 

Whether you have seen all of these films or not, there’s a lot to laugh about in this raucous comic send-up of all things John Hughes. There are two more chances to see it, so if you’re looking for a 1980’s nostalgia fest and a good laugh, I recommend checking this out.

Cherokee Street Theater Company, in partnership with STL Fringe, is presenting John Hughes Your Own Adventure at the Kranzberg Arts Center until December 14, 2025

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Well-Cast “Legally Blonde” Entertains With Energy and Heart at Tesseract

Posted in Uncategorized, tagged , , , , , , , , , on December 13, 2025| Leave a Comment »

Legally Blonde: The Musical
Music and Lyrics by Laurence O’Keefe and Nell Benjamin, Book by Heather Hach
Directed by Will Bonfiglio
Choreographed by Jo Palisoc
Tesseract Theatre Company
December 7, 2025

Jonathan Hey, Grace Seidel and Cast
Photo: Tesseract Theatre Company

It seems like Legally Blonde: The Musical has only increased in popularity since its Broadway debut in 2007, having been staged all over the world and now becoming popular in regional and community theatres. I’ve seen it twice at the Muny, in large, glitzy productions, and it is generally thought of as a big, glitzy show. Now, Tesseract is staging a scaled-down production that might have a smaller cast than most productions, but is still big in energy and heart, and even bringing out a bit more substance to the show than I’ve seen before.  Featuring a great cast and clever, efficient staging, this is a show that’s as fun as ever, but perhaps even more meaningful.

The story has become a familiar one–Malibu-raised UCLA fashion student Elle Woods (Grace Seidel) has enjoyed her undergrad years of sorority parties, popularity, and spending time with her upwardly mobile fiancé Warner (Mason Ramsey), fully expecting a proposal. Warner, however, informs her that she’s not “serious” enough to fit into his goals, as he plans to attend Harvard Law School and embark on a career in law and politics. Elle, determined to prove Warner wrong and win him back, applies to Harvard and is accepted, whereupon she soon learns that achieving her goal is going to be a lot harder than she thought. At Harvard, Elle meets Emmett (Kevin Corpuz), her law school mentor, and the two soon form a friendship as Emmett helps Elle adjust to law school and perhaps set her goals higher than “getting the guy back”, while Elle helps Emmett to loosen up and find more fun and style in life. She also makes friends with unlucky-in-love  hairdresser Paulette (Marsiya Miller), helping her learn to be more assertive, while navigating the cutthroat law school atmosphere led by ruthless Professor Callahan (Jonathan Hey), whose law firm offers a prestigious internship for which the students all vie. Soon, they’re enlisted to help in the defense of famous fitness guru Brooke Wyndham (Dawn Schmid), and Elle finds her goals and values tested more than ever. 

It’s a fun show, and not the deepest in terms of themes and message, although this production finds more substance in the material than I’ve seen before. Much of the credit for this meaningful interpretation goes to the cast and director Will Bonfiglio for thoughtful staging and heartfelt performances. There are still the fun production numbers, the memorable characters, and lots of pink, but the characters seem a little deeper in this version, and while still larger-than-life, they’re not quite as over-the-top as in other versions I’ve seen.  The reduced cast size with ensemble members playing various characters as needed also contributes to this approach.

Corpuz’s smoother, almost conversational vocals, and Seidel’s earnest persistence even amid her perky style and fantastic vocals, are among the highlights of this production, and the two have believable chemistry. There’s also a scene-stealing performance from Miller, who exudes likable stage presence as Paulette. There’s also an especially energetic turn from Schmid as Brooke, leading the high-octane “Whipped Into Shape” number with athletic gusto. Other standouts include Natalie Sannes, Lillie Self-Miller, and Evan Lee as Elle’s sorority sisters-turned Greek chorus Serena, Margot, and Pilar. There’s also a fun performance from Katie Orr as Elle’s Harvard classmate Enid, and fine turns from Ramsey as the image-conscious Warner and Aditi Seetharaman as Warner’s new “serious” girlfriend Vivienne. Hey makes a suitable, oily adversary as Callahan, as well, and there’s an excellent ensemble including Ella Drake, Martin Ibarra, Molly Stout, Kyle Rudolph, Loren Goudreau, and Aadi Kadam, all playing a variety of roles as needed.

The physical production is simplified from the usual, but especially efficient in that the black box space at the Marcelle is divided into areas with much of the set decoration along the walls. The set, designed by Brittanie Gunn, consists of the decorated walls and two raised platforms along with a few furniture pieces as needed. This economic approach adds a dynamic element as the pieces are moved around to fit the story, contributing to the overall energy of the show. Carly Uding’s costumes are fantastic, from the pink tones and bright colors of Elle and her UCLA friends to the more subdued Ivy League attire of Harvard, and Sarah Gene Dowling’s wigs also contribute to the overall look and tone with style.  There’s also excellent lighting by Morgan Brennan and sound by Jacob Baxley, as well as a great band led by music director Larry D. Pry, who perform live in a different room, helping the music to not overwhelm the vocals, as can happen so often in this space. 

Overall, this Legally Blonde is as energetic and fun as ever, but it brings even more in terms of substance and heart. It’s another example of Tesseract’s thoughtful approach to staging that’s been apparent in so many of their productions. In the words of one of the show’s most prominent songs, this production is “so much better than before”.

Kevin Corpuz and Cast
Photo: Tesseract Theatre Company

Tesseract Theatre Company is presenting Legally Blonde: The Musical at the Marcelle Theatre until December 21, 2025

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Bread And Wine’s “Christmas Short Play Festival” Brings Festive Spirit in an Inventive Setting

Posted in Uncategorized, tagged , , , , , , , , , , , , , , , , , on December 13, 2025| Leave a Comment »

A Christmas Short Play Festival
Bread and Wine Theatre Company
December 6, 2025

Bo Hanley, Peter D’Alessio
Haley Clegg, Laura Kyro
Photo by Roger Ottwell
Bread and Wine Theatre Company

Bread and Wine Theatre Company is a newer face on the St. Louis theatre scene, expressing a mission to “create innovative productions that highlight the beauty of a virtuous life”, according to CEO Owen Brown, who also directs one of the plays in their inaugural Christmas Short Play Festival. Held in a somewhat unusual venue, the Historic Sappington House, the festival features five plays and a cast of local performers. It’s an intriguing way to get to “know” a new theatre company while also exploring themes of love, loss, compassion, family–both biological and found, and the passage of time. 

The first and longest play of the evening is by celebrated playwright Thornton Wilder. “The Long Christmas Dinner”, directed by Brown, shows a family holiday gathering over the course of 90 years, starting in the 1840s and ending around 1930. The conceit is that it plays out showing the passage of time as one continuous gathering, starting early in the marriage of Roderick I (Adam Usry) and Lucia I (Haley Clegg), as they share a holiday meal with his mother, Mother Bayard (Bo Hanley). Over the course of the story, the conversation never stops, but characters grow old, get up and leave through a black curtain (apparently symbolizing death), as new characters enter, the family increases and decreases, and characters reflect on changing times and relationships. Much of the story focuses on Lucia and Roderick’s children, since from childhood to older age and played by Pietro D’Alessio as Charles and Laura Kyro as Genevieve, who join their parents and aging Cousin Brandon (Nicholas Urbanowicz), and are later joined by Charles’s wife Leonora (Tara Laurel) and their children Sam (Usry), Lucia II (Clegg), and Roderick II (Urbanowicz); and Cousin Ermengarde (Hanley). Abbey Robinson also appears as a nurse working for the family.  This is a fascinating play with a strong through-line of change and the passage of time. The performances are enthusiastic, with Kyro standing out for a believable portrayal of Genevieve’s growth from childhood to adulthood. The setting in the library building at Sappington House works especially well to set the mood and tone of this production.

The rest of the plays range from the very short to about 20 minutes in length, ending with a poignant if slightly over-the-top production of Dan Neidermyer’s adaptation of O. Henry’s classic “The Gift of the Magi”, directed by Travis Pfeifer. Michael Cox and Livy Potthoff are endearing as newlyweds Jim and Della, who struggle to find gifts for each other as they prepare to celebrate their first Christmas as a married couple. Bruce Jehling also appears in two roles, as Jim’s boss and as a shopkeeper.

The festival also features Cox in the title role of “Bosco’s Xmas” by Carol W. Berman, also directed by Pfeifer. This is a very short sketch about a cat, memorably played in a physically animated performance by Cox, who is seeking “revenge” by attacking his family’s Christmas tree. 

The remaining two plays are directed by Chandler Spradling. “The Last Mall Santa” by Michael Cox features Jodan Matt-Zeitler as Pete, a melancholy mall Santa who is reflecting on his time in this role, as his mall is undergoing difficult times and is about to close. The staging is clever here, as we see Pete interact with various toys that slide in from offstage, “playing” the roles of children who visit Santa. Pete grows sadder and more discouraged until his final visitor appears, this time played by a real child and aptly named Hope (Riley Shelembauer). It’s a poignant look at changing times and seasons, and the importance of hope.

“Baked Alaska” by Kelli Lynn Woodend features a group of guys from a rehab facility–Jeb (John Emery), Vigil (Connor Malone), and Clementine (Matt-Zeitler) being taken on a shopping trip by Freida (Hannah Lindsey) to buy Christmas gifts for their kids. It’s a little rough around the edges, but the message of kindness in hard times comes through clearly, making for a memorable sentiment. 

The location and seating arrangement adds much in the way of intimacy to the proceedings here, and although some of the performances are uneven, the Christmas spirit–in various forms–is palpable. It’s an intriguing look at a new theatre company with potential. I’m curious to see what else they bring in the future. 

Bread and Wine Theatre Company is presenting A Christmas Short Play Festival at the Historic Sappington House until December 13, 2025

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Albion’s “Beauty Queen” Highlights Dark Comedy, Strong Performances

Posted in St Louis Theatre, Uncategorized, tagged , , , , , on March 22, 2025| Leave a Comment »

The Beauty Queen of Leenane
By Martin McDonagh
Directed by Robert Ashton
Albion Theatre
March 16, 2025

Jason Meyers, Teresa Doggett, Heather Matthews
Photo by John Lamb
Albion Theatre

Albion Theatre has quickly established itself as one of St. Louis’s more consistently excellent theatre companies. With an emphasis on works of British and Irish playwrights, director Robert Ashton and his team have turned their attentions to Ireland with their latest offering, Martin McDonagh’s The Beauty Queen of Leenane. This is a darkly comic, often brutal tale that’s consistent with most of McDonagh’s works, and Albion has staged it with a characterful, snarky tone that emphasizes the energy and excellence of a truly great, memorable cast. 

As is usual for McDonagh’s plays, the characters here aren’t necessarily likable, although they are especially well-drawn and memorable. The focus here is on Maureen Folan (Heather Matthews), a middle-aged single woman who shares a small house in rural Leenane, Ireland with her grumpy, demanding mother Mag (Teresa Doggett). The two share an adversarial relationship, as the insecure Mag does what she can to keep Maureen home with her and taking care of her, since her other two daughters have married and moved out. Maureen resents being tied to her demanding mother, who insists on knowing everything about Maureen’s life and constantly “reminds” her that she’s never found a husband, and most likely never will, despite Maureen’s desperate desire to experience love, romance, sex, and anything that will get her away from her demanding mother. When their neighbor, the talkative and self-focused Ray Dooley (Austin Cochran) stops by to invite them to a “coming home” party for his brother Pato (Jason Meyers), who spends most of his time living and working in London, Mag tries to keep Maureen from finding out, but she does anyway and renews her acquaintance with the awkward but oddly charming Pato. Although they hit it off and share hopes for more of a relationship, of course this is a McDonagh play, and nothing runs smoothly. I won’t say anything else because it would spoil too much, but I will say that just when you think things can’t get any worse, remember who wrote this play and you’ll know that they probably will. 

The characters are meticulously well-drawn and, for the most part, decidedly self-centered, and all are played remarkably well by the first-rate cast. Matthews is alternately gruff and persistently hopeful as the neglected, lonely-but-fierce Maureen, and her scenes with the outstanding Doggett as the irrepressibly meddling Mag are a highlight of this production. Meyers brings a strong air of gawky amiability to the show’s most likable character, Pato, and his chemistry with Matthews is convincing enough to get audiences to hope. There’s also a strong supporting performance by Cochran as the memorably annoying Ray, who plays a surprisingly critical role in the plot. 

The atmosphere and mood of this play are well achieved and maintained by means of Chuck Winning’s well-appointed set, Gwynneth Rausch’s props, and Tracey Newcomb’s well-suited costumes. There’s also strong work from set painter Marjorie Williamson, lighting designer Eric Wennlund, and sound designer Ellie Schwetye. The rural Irish setting and tone of this play is crucial, and the technical aspects work well to transport the audience in a vivid and effective way.

Albion has quickly become one of my favorite theatre companies in St. Louis. It doesn’t hurt that I’m already an Anglophile, but the consistent excellence is what maintains the feeling that, when I hear about a new show from this company, I automatically expect it to be good. The Beauty Queen of Leenane is another success for this company, and even though the tone and occasional “gross-out” aspects of McDonagh’s works make me not the biggest fan of his plays, that is more of a personal taste issue and I can see his obvious talent. It’s productions like this one that make his shows especially worth watching.

Austin Cochran
Photo by John Lamb
Albion Theatre

Albion Theatre is presenting The Beauty Queen of Leenane at the Kranzberg Arts Center until March 30, 2025

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Prism Theatre Company’s Informative, Atmospheric “Wrens” Introduces Memorable Characters, Strong Performances

Posted in St Louis Theatre, Uncategorized, tagged , , , , , on September 22, 2023| Leave a Comment »

Wrens
by Anne V. McGravie
Directed by Trish Brown
PRISM Theatre Company
September 15, 2023

Avery Lux, Ashley Bauman, Sarah Naumann, Sadie Harvey, Jade Cash
Photo by Julie Merkle
PRISM Theatre Company

Probably the strongest aspect of PRISM Theatre Company’s new production of Wrens is how deliberately and authentically it sets its scene, time, place, and era. Inspired by the playwrights experiences during World War II, the play features well-defined characters, and a strong sense of setting. It also features some memorable performances by a cast of local performers. 

Playwright Anne V. McGravie’s story is based on her first-hand experiences as a member of the Women’s Royal Naval Service, or “Wrens”. This particular story focuses on a group of Wrens at a base in Scotland at the very end of the war. The seven characters represent various regions of the United Kingdom, including the Welsh, Scottish, and English women of different ages and stages of life. Some, like Jenny (Avery Lux) and Gwyneth (Ashley Bauman), are married to men who are serving in the war, and others are single. There’s also a variety of attitudes toward work, life, and the war–the  orderly Cynthia (Sadie Harvey) objects to the others’ flouting of rules; the aloof Chelsea (Camryn Ruhl) is looked at as a snooty outsider by the rest in the barracks, and young Dawn (Sam Hayes) is dealing with a personal issue that she’s reluctant to share with her colleagues. As the end of the war in Europe is rumored to happen any day, the Wrens also reflect on how the war and their service have changed their lives, and the attitudes towards women in the workforce and in general. There are moments of humor as well as intense drama, as the end of their service looms and various revelations come to light.

The story itself is intriguing and informative, and the characters are well-defined, if sometimes not quite as fleshed-out as they could be. The dialogue is also odd in places, with some of the speech patterns seeming somewhat awkward. Still, it’s a fascinating show, for the most part, and the cast is strong across the board, led by Lux as the protective Jenny, Hayes as the evasive Dawn, and Bauman as the strong-willed Gwyneth, along with Sarah Naumann as the Wrens’ resident writer, Doris. Jade Cash is also memorable as the fun-loving youngest Wren, Meg. Harvey as the stickler Cynthia, and Ruhl as the detached Chelsea also make a strong impression, even if their roles aren’t as prominent. The ensemble chemistry is what especially makes this show work, as it lends much credibility to this story. These characters and their interactions are relatable and highly convincing as a group who has lived and worked together for a while. The various UK accents represented are also impressively done, for the most part.

The technical presentation also makes a memorable impression. The set by Caleb D. Long is meticulously detailed, and the costumes by Sam Hayes are well-suited to the characters and the era. There’s also excellent use of period music, and strong sound design by Jacob Baxley, as well as superb lighting by Catherine Adams.

Wrens does feature some difficult subject matter, as mentioned in the program, and its best recommended for older teen to adult audiences. World War II has been a frequent subject for dramatization, and Wrens offers its own look at an aspect of life during the war that might not be as well-known, especially for American audiences. It’s a compelling drama, taking the audience to a specific time and place with energy and impressive authenticity.

Cast of Wrens
Photo by Julie Merkle
PRISM Theatre Company

PRISM Theatre Company is presenting Wrens at the Kranzberg Arts Center until September 24, 2023

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SDT Entertains with Campy, Energetic “Vampire Lesbians of Sodom”

Posted in Uncategorized, tagged , , , , , on June 12, 2023| Leave a Comment »

Vampire Lesbians of Sodom
by Charles Busch
Directed by Gary F. Bell
Stray Dog Theatre
June 10, 2023

Sarajane Clark, Greta Johnson, Victor Mendez, Zander Huber
Photo by John Lamb
Stray Dog Theatre

The latest production from Stray Dog Theatre is from celebrated playwright and drag artist Charles Busch, who seems to be a favorite of this theatre company, since they’ve performed several of his works in the past. Vampire Lesbians of Sodom is a fairly short play, but it packs a lot of laughs into its roughly 70 minute running time, featuring Busch’s campy style and an energetic cast who all seem to be having a great time on stage.

The story is told in three scenes, starting in the infamous biblical city of Sodom, then moving into glamorous 1920’s Hollywood, and finally arriving in glitzy 1985 Las Vegas. Most of the actors play a variety of roles, with notable exceptions being the two main characters, La Condesa Scrofula de Hoya (Sarajane Clark) and Madelaine Astarté (Xander Huber), whose rivalry lasts for many centuries. I won’t give too much away, because that might spoil the fun, but basically, it includes quests for amorous conquests, the blood of virgins, ambitious movie stars, and lots of stylized melodrama. It’s actually a fairly thin plot, but the point isn’t the plot, really. 

The point here appears to be letting the actors ham it up as much as possible, and they do that with impressive enthusiasm, led by the gloriously theatrical Clark and Huber, who make the most of their roles as glamorous, seemingly ageless rivals. The rest of the cast includes Rachel Bailey, Greta Johnson, Victor Mendez, Nara, and Sean Seifert, most of whom play a variety of roles, with Seifert a standout in a hilariously physical performance as Las Condesa’s sycophantic butler in the Hollywood sequence. Johnson also makes a humorous impression as two different young, seemingly clueless aspiring starlets, and Mendez gleefully overacts his role as a movie star and jealous boyfriend. The staging is fast-paced and energetic, with moments of physical comedy, witty banter, and all that hilariously overdone emoting.

The set, by Rob Lippert, is appropriately versatile, featuring a mountainous backdrop that is modified with signage in the Hollywood and Vegas scenes. There are also gleefully whimsical costumes by Colleen Michelson and wigs by Sarah Gene Dowling. Tyler Duenow’s lighting and Justin Been’s sound also contribute to the humorous tone of the production.

Overall, Vampire Lesbians of Sodom is a broadly comic show that revels in its own silliness. With its use of language and innuendo, it’s not for everyone, but it’s a fun showcase for its enthusiastic cast. Fans of bawdy, campy comedy, and particularly those who appreciate the works of Charles Busch, should especially enjoy this show. 

Xander Huber, Sarajane Clark
Photo by John Lamb
Stray Dog Theatre

Stray Dog Theatre is presenting Vampire Lesbians of Sodom at the Tower Grove Abbey until June 24, 2023

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Midnight Company’s “Leonard Pelkey” is a Compelling, Emotionally Resonant Production

Posted in Uncategorized, tagged , , , , , , on May 10, 2023| Leave a Comment »

The Absolute Brightness of Leonard Pelkey
by Celeste Lecesne
Directed by Alicen Moser
The Midnight Company
May 6, 2023

Joe Hanrahan
Photo by Joey Rumpell
The Midnight Company

The Midnight Company is currently back onstage with a poignant, emotional production that features Joe Hanrahan doing what he’s perhaps best known for–a one-man show. The Absolute Brightness of Leonard Pelkey isn’t a one character show, however. Hanrahan gets to show his versatility here, telling a short but powerful story and playing a variety of roles, creating a memorable, remarkably affecting portrait of a small town in turmoil, and one character we never actually “meet” who makes the most profound impact of all. 

Hanrahan narrates the story as Chuck DeSoto, a police detective in a small New Jersey town who is remembering the case that has affected him the most. The flashback format has DeSoto offering commentary on the proceedings as the story unfolds, and Hanrahan deftly morphs into the various players, starting when hair salon owner Ellen Hertle and her teenage daughter Phoebe walk into the police station to report a missing person. Leonard Pelkey is a 14-year-old boy who Ellen has been raising after his mothers’ death. Leonard has only been in town for about two years, but he’s already made an impression, with his “weird” theatrical personality and offbeat sense of personal style. It’s made fairly clear that Leonard is gay, as well, and he’s experienced a great deal of bullying at school. As the story unfolds, the efforts to find what’s happened to Leonard unfold like a mystery story, and although there are sad and even tragic elements, there are also moments of hope, as we meet a series of characters who have been affected by Leonard in various ways, including the concerned Ellen; conflicted Phoebe; Buddy Howard, Leonard’s British-born drama instructor; clock repairman Otto Beckerman; and others. As the truth is discovered, we get to learn more about the various characters and their motivations–especially Phoebe, who is perhaps the most well-drawn character here besides Chuck. Also, even though Leonard never actually “appears” onstage, his character seems just as real as the others, and his influence pervades every moment. 

It’s a short play, but especially well-constructed, and Hanrahan does an excellent job playing the various distinctive characters, especially Chuck, Phoebe, Ellen, and Otto. Hanrahan’s handles the humor and the drama well, and the pacing is excellent. Tony Anselmo’s lighting also adds much to the overall mood of the show.

The playwright, Celeste Lecesne, is also a co-founder of The Trevor Project, which provides a crisis hotline and other resources for LGBTQ+ youth. The theme of  this show highlights the difficulties that young gay teens can endure, as well as the positive impact that one boy’s life can make on those around him, even in such a short time.  The play also  features an over-arching theme of individual expression and the importance of community support and respect. It’s a memorable effort from Joe Hanrahan and The Midnight Company.

Joe Hanrahan
Photo by Joey Rumpell
The Midnight Company

The Midnight Company is presenting The Absolute Brightness of Leonard Pelkey at the Kranzberg Arts Center until May 20, 2023

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Tesseract Theatre Company stages a Vibrant, Somewhat Mixed-Up “Welcome”

Posted in St Louis Theatre, Uncategorized, tagged , , , , , on May 4, 2023| Leave a Comment »

Welcome to Arroyo’s
by Kristoffer Diaz
Directed by Brittanie Gunn
Tesseract Theatre Company
April 29, 2023

Victor Mendez
Photo: Tesseract Theatre Company

Welcome to Arroyo’s! That’s the name of Tesseract Theatre Company’s latest show, currently being staged at the .ZACK Theatre. Production-wise, it’s vibrant and fun, with an energetic cast. The play itself can be frustrating in its structure at times, but for the most part it’s an intriguing journey into the world of a small New York City bar, its staff and would-be regulars, with a lively, mostly hip-hop soundtrack.

The story, narrated alternatingly by aspiring rap duo Nelson (Kevin Corpuz) and Trip (Jacob Schmidt), and by earnest grad student Lelly (Hannah de Oliveira), follows three main threads, as Alejandro (Victor Mendez) strives to turn his mother’s former bodega into a thriving bar; Alejandro’s younger sister Molly (Remi Mark), a graffiti artist, looks to establish a name for herself despite run-ins with the police, including Officer Derek (Marshall Jennings), with whom she develops a reluctant attraction; and Lelly’s quest to discover the identity of an influential figure in the early hip-hop scene, about whom she’s writing a thesis. These stories all intersect at various points, with the bar as the central locale, but really, it’s a story about hopes, dreams, personal history, family connections, and the role of a community in the lives of its residents, and vice versa.

It’s a compelling story, for the most part, with memorable characters, a good dose of humor, and excellent use of music. Still, the structure can be a little difficult to follow at times, as each plot keeps putting off key revelations in ways that seem more designed to frustrate the audience than to really drive the story. At Tesseract, the story is well-played, though, with the characters and memorable performances bringing energy to the overall presentation, along with vibrant production values.

The production manager is Sarah Baucom, but there’s no credit given to the set designer or projection designer, although the simple but effective set and memorable projections provide much of the overall atmosphere. Also contributing to the mood are Tony Anselmo’s eye-catching lighting and Jaz Tucker’s excellent sound design. The hip-hop soundtrack and use of other music adds much to the overall energy of the show.

As for the cast, the standouts here are Corpuz and Schmidt, who are both hilarious and personable as the aspiring hip-hop artists who work at the bar. Much of the play’s energy and humor comes from these two, and they energize all the scenes they are in. Mark and Jennings are also strong as the rebellious Molly and somewhat weary but well-meaning cop Derek, who has his own identity issues to deal with concerning sharing his name with a celebrity. Mendez also puts in a solid performance as Alejandro, making the most of a part that isn’t given much to do beyond being alternately sad and determined; and de Oliveira is fine as Lelly, although she could use more energy in some moments. Overall, it’s a cohesive cast that makes the most of this show’s oddly organized script.

While the script is not without its flaws, Welcome to Arroyo’s is a compelling story with good characters and lots of humor and heart. It’s a show about relationships between people, as well as between artists and their art, and individuals and the communities in which they live.  At Tesseract, it’s an entertaining and thoughtful production.

Remi Mark, Marshall Jennings
Photo: Tesseract Theatre Company

The Tesseract Theatre Company is presenting Welcome to Arroyo’s at the .ZACK Theatre until May 7, 2023

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New Jewish Theatre’s Poignant, Hopeful “Brilliant Thing” Features Strong Central Performance

Posted in Uncategorized, tagged , , , , , on March 18, 2023| Leave a Comment »

Every Brilliant Thing
by Duncan Macmillan, with Jonny Donahoe
Directed by Ellie Schwetye
New Jewish Theatre
March 16, 2023

Will Bonfiglio
Photo by Jon Gitchoff
New Jewish Theatre

Every Brilliant Thing is a popular show. The latest staging, from the New Jewish Theatre, is the third production of this show I’ve seen in St. Louis since it debuted here with another theatre company in 2018. I think it’s popularity stems from a few factors–its simple production values which don’t require a large budget, its relatable subject matter, and its ability to showcase a strong, personable central performer. While this current production, directed by Ellie Schwetye and starring the always excellent Will Bonfiglio, is certainly the most polished production I’ve seen from a technical standpoint, it still maintains that inherent simplicity, audience interaction, and focus on its lead character that makes it such a memorable–and, considering its sometimes heavy subject matter–an ultimately hopeful show. 

The setup here in NJT’s versatile space at the J’s Wool Studio Theatre is simply but elegantly appointed, designed by Bess Moynihan with a flair for setting an approachable, warm and inviting initial mood–and this atmosphere helps to provide balance in the show’s darker moments. Moynihan’s lighting is also especially effective, as Bonfiglio, suitably outfitted by costume designer Michele Friedman Siler in jeans, a casual button-down shirt and comfy sneakers, tells the story as a version of himself, as is the norm for this play. There’s a soft rug and a raised platform on one end of the stage where there’s a chair, and old-fashioned record player, and a box of records, which play into the story that is well-punctuated by various songs in the moments that call for them. Also, dangling from the ceiling is a collection of notecards suspended by wires, featuring various “brilliant” things about life, whether they be objects, people, experiences, etc. The audience members are given notecards, as well, and called upon to read items from Bonfiglio’s list as he calls their numbers.

The story, told as if it happened to Bonfiglio himself, recounts his childhood growing up with a chronically depressed mother, and the list of brilliant things starts out as his way to try to cheer her up. Over the years, as he grows up, the list gets longer and takes on new meanings, as Bonfiglio tells of his relationship with both of his parents, as well as meeting a romantic partner in college, and his on-and-off writing of the list as he struggles to deal with his own emotions and reactions to his mother’s condition as well as relating to the world around him. Bonfiglio gently calls on various audience members to participate in his story, playing a school teacher/counselor, his dad, a college professor, and his love interest, among others. Bonfiglio handles this aspect of the role especially well, and at least two of the “guest performers” I saw were notable local actors, which suggests that at least in some cases, Bonfiglio was choosing people he already knew to some degree, although I don’t think this was the case with everyone he chose. 

One of the most appealing aspects of this show is that it’s so easily tailored to the particular performer who stars, and with Bonfiglio, it works especially well. Director Schwetye, who has worked with Bonfiglio before with great success at NJT with Fully Committed in 2019, has paced this show ideally, allowing Bonfiglio’s warm, engaging and occasionally unpredictable personality to shine forth in moments of humor, sadness, reflection, and ultimately hope. Bonfiglio is especially adept as holding the audience’s attention, and encouraging participation while not seeming too pressuring. The arc of the story, while familiar to anyone who has seen other versions of this show, gains a degree of immediacy with Bonfiglio in the lead.

I have seen this show three times now, and each time I’ve seen something new and challenging, but the emphasis has always been on hope. At NJT, Bonfiglio, Schwetye, and the creative team have constructed an elegantly staged, dare I say brilliant production. It does contain difficult subject matter, including depression and suicide, but it is handled with great sensitivity and poignancy. It’s a superb showcase for an excellent and beloved local performer. It’s a brilliant thing, indeed. 

Will Bonfiglio
Photo by Jon Gitchoff
New Jewish Theatre

The New Jewish Theatre is presenting Every Brilliant Thing at the J’s Wool Studio Theatre until April 2, 2023

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